New Perspectives On Microsoft Powerpoint 2013 Comprehensive Enhanced 1St Edition Zimmerman Test Bank Full Chapter PDF

New Perspectives on Microsoft
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Tutorial 4: Advanced Animations and Distributing Presentations
TRUE/FALSE
1. When multiple animations are applied to an object, you can select one of the animation sequence icons
to display its associated animation in the Animation gallery.
ANS: T PTS: 1 REF: PPT 190
2. An object can have only one animation applied to it.
ANS: F PTS: 1 REF: PPT 192
3. When you use a picture as the slide background, you can use a picture stored on your computer or
network or you can search for one online.
4. When you type a web or an email address on a slide, you must format it as a hyperlink manually.
5. You can convert any text or object on a slide to be a link.
6. Text links are usually underlined and the same color as the rest of the text on a slide.
7. You can create a link to another file (which must also be a PowerPoint file) so that when you click the
link during a slide show, the other file opens.
8. When you create a link to another file, the linked file is not included within the PowerPoint file.
9. When setting up a slide show to be self-running, the slide timing needs to be the same for each slide.
10. When you rehearse a slide show, PowerPoint keeps track of the amount of time each slide is displayed
during the slide show.
MODIFIED TRUE/FALSE
1. To add a second animation to an object, click the Add Animation button in the Advanced Animation
group on the ANIMATIONS tab. _________________________
2. When an animation has a trigger, the number in the animation sequence icon is replaced with a(n) star.
_________________________
ANS: F, lightning bolt
PTS: 1 REF: PPT 191
3. When you change the background, you are essentially changing the fill of the background.
_________________________
4. After you change the background picture of a slide to tiles, you can adjust the scale of the tiles
vertically using the Scale X setting. _________________________
ANS: F, horizontally
PTS: 1 REF: PPT 202
5. After you click a text link during a slide show, the link changes to another color to reflect the fact that
it has been clicked, or followed. _________________________
6. To change the link destination of an action button to another file, open the Action Info dialog box,
click the Hyperlink to option button, click the Hyperlink to arrow, and then click Other PowerPoint
Presentation or Other File. _________________________
ANS: F, Settings
PTS: 1 REF: PPT 211
7. In the Timing section of the TRANSITIONS tab, if the On Mouse Click check box is deselected, the
slide show may not be advanced manually, although users can still click links.
_________________________
8. When you rehearse slide timings or record narrations, the Narration toolbar appears.
_________________________
ANS: F, Recording
PTS: 1 REF: PPT 217
9. If you want to remove slide timings, select all the slides in Slide Sorter view, click the ANIMATIONS
tab, and then click the After check box in the Timing group to deselect it.
_________________________
ANS: F, TRANSITIONS
PTS: 1 REF: PPT 219
10. Before rehearsing timings or recording a slide show, you should first read and look over each slide in
the presentation, watching animations and reading the text. _________________________
MULTIPLE CHOICE
1. Referring to the accompanying illustration, one way to set automatic timings is to click the _____
button, and then leave each slide on the screen for the desired length of time.
a. From Beginning c. Rehearse Timings
b. Set Up Slide Show d. Record Slide Show
ANS: C PTS: 1 REF: PPT 217
2. Referring to the accompanying illustration, when you select _____, you can save the narrations only or
you can save the narrations and the recorded timings.
a. From Beginning c. Rehearse Timings
b. Set Up Slide Show d. Record Slide Show
ANS: D PTS: 1 REF: PPT 217
3. Referring to the accompanying illustration, when you click Record Slide Show a dialog box displays.
If you do not want to record narrations you deselect the _____ button.
a. Slide timings c. Narrations
b. Animation timings d. Narrations and laser pointer
4. Referring to the accompanying illustration, when you click Record Slide Show a dialog box displays.
If you do not want to record animations and timings you deselect the _____ button.
a. Slide and animation timings c. Narrations
b. Animation timings d. Narrations and laser pointer
ANS: A PTS: 1 REF: PPT 217
5. Referring to the accompanying illustration, the 00:26 listed under slide two indicates _____.
a. how many seconds a slide will stay on the screen before moving to next slide
b. how many seconds the screen will be blank between slides
c. how many seconds the presentation has taken up through this slide
d. the maximum number of seconds the slide can remain on the screen
6. The motion path is indicated by a(n) _____.

a. solid line c. wavy line
b. dotted line d. underline
ANS: B PTS: 1 REF: PPT 190
7. When you add a second animation to an object, a second animation sequence icon appears next to the
object. When the object is selected, _____ is selected in the Animation gallery.
a. Two c. Multiple
b. Many d. Group
8. When a motion path animation is applied to an object, the object appears on the slide at the starting
point of the path, indicated by a _____ circle.
a. red c. blue
b. yellow d. green
9. The _____ animation automatically applied to a video when a video is added to a slide is triggered by
clicking the video object itself.
a. Play c. Play/Pause
b. Pause d. none of the above
10. To change the background, you use the _____ Background task pane.
a. Review c. Format
b. Design d. Insert
11. To add a preset gradient as the background fill, click the More button in the Variants group on the
_____ tab, point to Background Styles, and then click one of the gradient styles.
a. FILE c. INSERT
b. DESIGN d. REVIEW
12. You can adjust the position of the photo using the _____ options in the task pane.
a. scale c. offset
b. transitions d. zoom
13. Instead of displaying one image of a picture as the slide background, you can _____ it, which means
you can make it appear as repeating squares.
a. thumbnail c. table
b. tile d. graph
14. If you set an image to tile as a background, the _____ offset options change to offset and scale (size)
options.
a. two c. six
b. four d. eight
15. To view a presentation in black-and-white or grayscale, click the _____ tab, and then in the
Color/Grayscale group, click the Grayscale or Black and White button.
a. HOME c. REVIEW
b. VIEW d. DESIGN
16. Referring to the accompanying illustration, the current slide contains _____ and graphic objects.
a. text objects c. wordart
b. text boxes d. charts
17. Referring to the accompanying illustration, the picture of the ceiling fan is an example of a _____.
a. text box c. graphic box
b. text object d. graphic object
18. If you’ve visited webpages, you’ve clicked _____ to display other webpages.
a. hyperlinks c. dialog boxes
b. transitions d. tool bars
19. Referring to the accompanying illustration, the current folder name is _____.
a. Control System c. Tutorial
b. System d. ScreenTip
20. Referring to the accompanying illustration, the text http://duplantissystems.example.com/ is an

example of the Web address of _____.
a. the linked webpage c. the current folder
b. the link text that is displayed d. the server of the Web site
21. Referring to the accompanying illustration, to view the files in the current folder, click the _____
option.
a. Create New Document c. Browsed Pages
b. Current Folder d. Recent Files
22. To create a link, on the ribbon, click the _____ tab, and then in the Links group, click the Hyperlink
button.
a. HOME c. DESIGN
b. FILE d. INSERT
23. In the Action Button section in the _____ gallery, 12 action button shapes are available, such as Action
Button: Home or Action Button: Sound.
a. Shapes c. Animations
b. Button d. Object
24. An action button is a shape intended to be a(n) _____.

a. animation c. motion path
b. recording d. link
25. To add an action button, click the INSERT tab, and then in the _____ group, click the Shapes button.
a. Illustrations c. Designs
b. Shapes d. Logos
26. To customize theme colors, click the _____ tab.

a. HOME c. DESIGN
b. FORMAT d. INSERT
27. One way to set automatic timing is to type the time you want the selected slide to remain on screen
during a slide show in the After box on the _____ tab.
a. ANIMATIONS c. VIEW
b. REVIEW d. TRANSITIONS
28. When the _____ Mouse Click check box is selected, the slide show can be advanced manually, even if
there are saved slide timings.
a. On c. Forward
b. Off d. Backward
29. If automatic timings have been manually set, then during a slide show, the slides will advance
automatically after the time displayed in the _____ box.
a. Edit c. Transition
b. After d. Before
30. One way to set automatic timings is to record the slide show, which is similar to _____ timings except
you have the option to record narrations.
a. determining c. managing
b. deleting d. rehearsing
31. When you record narrations, the Recording toolbar appears. The timer in the center counts _____.
a. the seconds each slide is displayed
b. the total time for the slide show
c. the length of any animations on the slide
d. the estimated time remaining
32. Click the Pause Recording button on the _____ toolbar to pause the timer.
a. Pause c. Playback
b. Rehearsing d. Recording
33. When rehearsing slide timings, click the _____ button to restart the timer for the current slide.
a. Repeat c. Stop
b. Restart d. Start
34. You set new slide timings by using the _____ Timings feature.
a. Rehearse c. Record
b. Practice d. Create
35. When you add narration, you should prepare a _____ for each slide so you won’t stumble or hesitate
while recording.
a. handout c. story
b. script d. number
36. If you add narration to a slide, you should NOT _____.

a. provide additional information about the slides
b. provide additional instructions for the viewers
c. provide guidance on how to use action buttons
d. read the text on the slide
37. To record narration, on the ribbon, click the _____ tab, and then in the Set Up group, click the Record
Slide Show button.
a. TRANSITIONS c. SLIDE SHOW
b. REVIEW d. INSERT
38. Speak into the _____ to record the narration for the current slide.
a. mouse c. camera
b. monitor d. microphone
39. When recording a narration, press the _____ to go to the next slide.
a. F8 key c. spacebar
b. Esc key d. Tab key
40. To remove narration on a slide, delete the sound _____.

a. button c. menu
b. icon d. ribbon
41. To remove narration on a slide, click the Record Slide Show button arrow in the _____ group on the
SLIDE SHOW tab.
a. Settings c. Sound
b. Set Up d. Narration
42. If the On Mouse Click check box is selected in the Timing group on the TRANSITIONS tab, the
viewer can advance the slide show by _____.
a. clicking the left mouse button c. pressing the Enter key
b. pressing the spacebar d. all of the above
Case-Based Critical Thinking Questions
Case 4-1
In PowerPoint 2013, Jake wants to change the slide background to a photo on his computer. He is
walking through a tutorial given to him by a co-worker.
43. To add a picture to the Slide background, Jake first clicks the _____ tab.
a. HOME c. FORMAT
b. DESIGN d. EDIT
ANS: B PTS: 1 REF: PPT 200 TOP: Critical Thinking
44. Once Jake has selected the correct tab, he clicks the Format Background button that can be found in
the _____ group.
a. Photo c. Create
b. Customize d. Background
45. The Format Background task pane has only one button, the _____ button.
a. Texture c. Fill
b. Picture d. Edit
ANS: C PTS: 1 REF: PPT 200 TOP: Critical Thinking
46. Jake now clicks the _____ option button, and the task pane changes to include more commands,
including commands for inserting pictures.
a. Insert fill c. Picture fill
b. Texture fill d. Picture or texture fill
ANS: D PTS: 1 REF: PPT 200 TOP: Critical Thinking
47. Once the picture is inserted, Jake notices that it is too dark. He drags the _____ slider in the Format
Background task pane to the right.
a. Fill c. Contrast
b. Transparency d. Light
Case-Based Critical Thinking Questions
Case 4-2
In PowerPoint 2013, Natalie is learning how to work with animations. She is editing work that has
already been done for the first three slides, and then she will complete the rest of the slides on her own.
48. Natalie clicks on an existing motion path and notices that a faint copy of the object appears at the
ending point, indicated by a _____.
a. red circle c. red square
b. green circle d. green square
ANS: A PTS: 1 REF: PPT 190 TOP: Critical Thinking
49. Natalie adds a second animation to an object, and notices that a second animation sequence icon
appears _____.
a. in the Animation gallery c. at the beginning of the motion path
b. next to the object d. at the end of the motion path
50. Natalie selects the object with two animations and notes that _____ is selected in the Animation
gallery.
a. Double c. Multiple
b. Duplicate d. Two
51. Natalie wants to modify the path her animation will take; she drags the _____.
a. starting point c. either a. or b.
b. ending point d. neither a. nor b.
52. Natalie notices a lightning bolt icon has replaced the number in the animation sequence icon. She
knows that this indicates that the animation _____.
a. is on hold c. has narration
b. lasts longer than 10 seconds d. has a trigger
ANS: D PTS: 1 REF: PPT 191 TOP: Critical Thinking
COMPLETION
1. When a motion path is selected, a faint copy of the object appears at the ending point, indicated by a
red ____________________.
ANS: circle
PTS: 1 REF: PPT 190
2. A(n) ____________________ is an object, such as a text box or a graphic, on a slide that you click to
start an animation.
ANS: trigger
PTS: 1 REF: PPT 191
3. To see a list of all the animations on a slide, you can open the ____________________ Pane.
ANS: Animation
PTS: 1 REF: PPT 196
4. When changing the background picture to tiles, you can adjust the scale of the tiles
____________________ using the Scale Y setting.
ANS: vertically
PTS: 1 REF: PPT 202
5. To hide graphics in the background, select the Hide background graphics check box in the
____________________ Background pane.
ANS: Format
PTS: 1 REF: PPT 203
6. A(n) ____________________ button is a shape intended to be a link.
ANS: action
PTS: 1 REF: PPT 207
7. To create a link to another file, open the ____________________ dialog box, click Existing File or
Web Page in the Link to list, and then click the Browse for File button.
ANS: Insert Hyperlink
PTS: 1 REF: PPT 211
8. Each theme has its own color ____________________.
ANS: palette
PTS: 1 REF: PPT 211
9. ____________________ timings indicate how many seconds a slide will stay on the screen before
transitioning to the next screen during a slide show.
ANS: Automatic
PTS: 1 REF: PPT 216
10. One way to set automatic timings is to click the ____________________ Timings button, and then
leave each slide on screen for the desired length of time.
ANS: Rehearse
PTS: 1 REF: PPT 217
11. In a self-running presentation, automatic ____________________ tells PowerPoint to display slides

for a certain amount of time before moving to the next slide.
ANS: timing
PTS: 1 REF: PPT 218
12. In a self-running presentation, ____________________ gives the viewer more information or

instructions for overriding the automatic timing.
ANS: narration
PTS: 1 REF: PPT 218
13. In a self-running presentation, ____________________ allow viewer to speed up or change the order
of viewing.
ANS: hyperlinks
PTS: 1 REF: PPT 218
14. In a self-running presentation, the ____________________ browsing feature tells PowerPoint that,
when the slide show reaches the last slide, the presentation should start over again at the beginning.
ANS: kiosk
PTS: 1 REF: PPT 218
15. To rehearse slide timings, on the ribbon, click the ____________________ tab, and then in the Set Up
group, click the Rehearse Timings button.
ANS: SLIDE SHOW
PTS: 1 REF: PPT 220
MATCHING
a. Document Inspector f. DESIGN

b. automatic timing g. INSERT
c. kiosk browsing h. HOME
d. narration i. ANIMATIONS
e. PowerPoint viewer j. trigger
1. recorded content that gives viewers more information
2. Tab used to customize theme colors
3. Tool used to check a presentation for hidden data
4. Setting advances presentation slides automatically and loops back to start
5. Tab used to set triggers for animations
6. An object on a slide that you click to start an animation
7. Tab used to add a second animation to an object
8. Tab used to add an action button
9. Free program used to show a PowerPoint presentation
10. Feature used to display slides for set amount of time before going to next slide
1. ANS: D PTS: 1 REF: PPT 221

2. ANS: F PTS: 1 REF: PPT 211
3. ANS: A PTS: 1 REF: PPT 227
4. ANS: C PTS: 1 REF: PPT 225
5. ANS: H PTS: 1 REF: PPT 198
6. ANS: J PTS: 1 REF: PPT 191
7. ANS: I PTS: 1 REF: PPT 190
8. ANS: G PTS: 1 REF: PPT 207
9. ANS: E PTS: 1 REF: PPT 230
10. ANS: B PTS: 1 REF: PPT 218
ESSAY
1. What is a hyperlink in PowerPoint? Can you turn text or objects into hyperlinks? Name four places a
link could lead to.
ANS:
Clicking a hyperlink on a web page displays other webpages. In PowerPoint, a link on a slide
accomplishes the same thing.
You can convert any text or object on slide to be a link.
You can set the destination of this link so that when the link is clicked, it will:
- display another slide in the same presentation
- display a slide in another presentation
- display a file created in another program
- open a webpage
- open a new email message addressed to the person whose email address is part of the link
- start a program.
PTS: 1 REF: PPT 204 TOP: Critical Thinking
2. When you create a link to another file, what is included within the current PowerPoint file? What do
you need to do before showing your presentation on another computer?
ANS:
When you create a link to another file, only the original path and filename to the files on the computer
where you created the links are stored in the presentation.
If you need to show the presentation on another computer, you must copy the linked files to the other
computer as well as the PowerPoint presentation file, and then you need to edit the path to the linked
file so that PowerPoint can find the file in its new location.
3. Name three things to keep in mind when preparing to rehearse timings and record a slide show.
ANS:
- Read and look over each slide in the presentation, watching animations and reading the text.
- Make sure you take the amount of time that you think a viewer would take to view each slide or
bulleted item, and then advance from one slide to the next, according to your desired timing of each
item.
- Move along at a speed for moderately slow readers. Keep in mind that if you move too slowly, your
viewers will become bored or wonder if the slide show is working properly; if you move too quickly,
viewers will not have enough time to read and absorb the information on each slide.

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decadence of execution and little monumental construction, the
principles once gained were never lost.
120. Mediæval Cathedrals

With the emergence from the Dark to the Middle Ages,
architecture revived with an application to churches instead of
temples, circuses, and baths. In southern Europe adherence to the
old Roman model remained close, and the style is known as
Romanesque. In northern Europe the Roman principles found
themselves on newer soil, tradition bound less rigorously, and the
style underwent more modification. The arch became pointed at the
top. Vertical building lines were elongated at the expense of
horizontal ones, which in the lower and less brilliant sun of the north
are less effective in catching light and shade and giving plastic effect
than on the Mediterranean. The dominant effect became one of
aspiration toward height. This is the so-called Gothic architecture,
developed from the twelfth century on, most notably in northern
France, with much originality also in England, and undergoing
provincial modification in the various north European countries. In
fact, the style was finally carried back into Italy, to compete there
with the Romanesque order, as in the famous cathedral of Milan.
As an artistic design a Gothic cathedral is as different from an
imperial Roman building as the latter from a Greek temple. Yet it
represents nothing but a surface modification of Roman methods. Its
essential engineering problems had been solved more than a
thousand years earlier. The effect of a hemispherical arch associated
with low round columns, and of a high pointed one soaring from tall
clusters of buttresses, is as diverse as can be obtained in
architecture. But so far as plan or invention are concerned, there is
no decisive distinction between the two orders.
121. The Arabs: India: Modern Architecture

In the east, Roman architectural tradition was sustained without
rupture and even carried forward in the Byzantine empire. The great
church of St. Sophia at Constantinople is a sixth century example of
a splendid dome set on four great arches and intersecting with
smaller domes at its corners. From the Byzantine Greeks—or
Romans as they long continued to call themselves—and perhaps
from the neighboring Sassanian Persians, the principle of arch and
dome came to the Arabs when these underwent their sudden
expansion after the death of Mohammed. In nearly all the countries
overrun by the Arabs, Mesopotamia, Syria, Egypt, North Africa,
Sicily, and Spain, they encountered innumerable old public buildings
or ruins. It was not long before they were emulating these. During
the centuries superficial fashion does not stand still in architecture
any more than in dress. The trousers of 1850 would seem out of
place if worn in 1920, and yet the two garments are identical in basic
plan. So with Roman and Arab or Saracenic architecture. The Arab
sometimes twisted his columns and bulged his arch to horseshoe
shape. He added no essential element.
Among the countries in which the Arabs built is Spain. Hence their
architecture, in the form known as Moorish, influenced that of the
Spaniards. They in turn carried the style to Mexico; from there it was
transported to New Mexico and California, where converted Indians
made and laid the adobe bricks of their mission churches according
to the plans of the padres. Since the American occupation, the
buildings and ruins of the Spanish period have stood out as
landmarks, fired the imagination of visitors, and set the model for a
type of architecture. Railroad stations and the like are now done in
“Mission” style, which in essentials is nothing but Spanish Moorish
architecture, as this again is only the Arab modification of the Roman
original.
Along with Mohammedanism, the Roman-Saracenic architecture
spread eastward also to India. In the sixteenth century
Mohammedan conquerors of Mongol origin, known therefore as the
Moguls, carved out a great empire in northern India. Prosperity
resulted for several generations, and its memory was embellished by
the erection of notable buildings. Perhaps the most famous of these
is the tomb near Agra known as the Taj Mahal. Set in its sunlit
environment, built of white marble, and its surface a maze of inlay in
polished stone, this structure seems utterly unrelated to the grim,
narrow, upward-stretching cathedrals of northern Europe with
stained glass filling the spaces between their buttresses. Yet the
central feature of the Taj Mahal is a great dome done on the identical
plan as that of St. Sophia or the Pantheon and derived from them.
What then one is wont to regard as the triumph of Indian architecture
is not Indian at all; no more than Gothic architecture had any
connection with the Goths. The one is Mohammedan, the other
French. Both represent little else than the working out in new
countries and in later centuries of an invention which the Romans
had borrowed from the Etruscans and they from the Babylonians.
The device diffused from Asia into Europe and Africa and returned
after several thousand years, to flourish once more near its source of
origin, enormously modified æsthetically and enriched with infinite
refinement, but still without radical change.
It is an interesting commentary on the sluggishness of invention
that whereas we to-day build in concrete and steel as well as in
wood and brick and stone, and erect buildings of greater size as well
as for a larger variety of purposes than ever before in history, yet we
have so far been unable to add any new type of æsthetic design.
Our public buildings, those intended to serve as monuments and
therefore summoning the utmost abilities of the architect, still make
use of the arch, vault, and dome, or fall back frankly on modifications
of the Greek temple with its rows of columns. So far as the outside
appearance of modern buildings goes, all our fine architecture is
essentially a burrowing in the past to recombine in slightly new
proportions, and for new uses, elements taken from the most diverse
countries and ages, but forming part of only two lines of
development. It may be, when we have built much longer in steel
and concrete, and perhaps still newer materials, that the inherent
properties of these may gradually force on a future generation of
architects and engineers possibilities which indeed are now lying
before us, but to which the resistance of the human mind to novelty
blinds us.
122. The Week: Holy Numbers
The history of the week is also a meandering one. Its origins go
back to a number cult. Many nations have a habit of looking upon
some one number as specially lucky, desirable, holy, or perhaps
unfortunate; at any rate endowed with peculiar virtue or power. Three
and seven at once rise to mind, with thirteen as unfortunate. But the
particular numbers considered mystic are very diverse. Few
American Indian tribes, for instance, had any feeling about seven,[21]
and still fewer about three. The latter, in fact, would have seemed to
almost all of them imperfect and insignificant. Nearly all the
Americans who were conscious of any preferential custom exalted
four; and the remaining tribes, those of the North Pacific Coast, were
addicted to five. The Africans were without any feeling for seven,
except where they had come under Islamic or other foreign
influences. The Australians and Pacific islanders also have not
concerned themselves with seven, and the same seems to be true of
those remoter peoples of northern Asia which remained until recently
beyond the range of the irradiation of higher civilization.
This reduces the area in which seven is thought to have sacred
power to a single continuous tract comprising Europe, the culturally
advanced portions of Asia and the East Indies, and such parts of
Africa as have come under Eur-Asiatic influence. It is significant that
seven was devoid of special significance in ancient Egypt. This
circumscribed distribution suggests diffusion from a single originating
center. Where this may have been, there is no direct evidence to
show, but there are indications that it lay in Babylonia. Here
mathematics, astrology, and divination flourished at an early time.
Since the art of foretelling the issue of events from examination of a
victim’s liver spread from Babylonia to Italy on one side and to
Borneo on the other, it is the more likely that the equally ancient
attribution of mystic virtue to seven may have undergone the same
diffusion. In fact, the two practices may have traveled as part of a
“complex.” The Greeks and Hebrews are virtually out of question as
originators because they were already thinking in terms of seven at a
time when they were only receiving culture elements from Babylonia
without giving anything in return.
123. Babylonian Discovery of the Planets

The Babylonians, together with the Egyptians, were also the first
astronomers. The Egyptians turned their interest to the sun and the
year, and devised the earliest accurate solar calendar. The
Babylonians lagged behind in this respect, adhering to a
cumbersome lunar-solar calendar. But they acquired more
information as to other heavenly phenomena: the phases of the
moon, eclipses, the courses of the planets. They devised the zodiac
and learned to half predict eclipses. It is true that their interest in
these realms was not scientific in the modern sense, but sacerdotal
and magical. An eclipse was a misfortune, an expected eclipse that
did not “come off,” a cause for rejoicing. Yet this superstitious interest
did lead the Babylonians to genuine astronomical discoveries.
Among these was the observation that five luminaries besides the
sun and moon move regularly across the heavens, visible to the
naked eye and independent of the host of fixed stars: the planets
that we call Mercury, Venus, Mars, Jupiter, and Saturn. This
impressive fact must have significance, they felt, and from
anthropocentric reasons they found the significance in the influence
of these bodies on the fortunes of men. This was the beginning of
astrology, which charlatans and dupes still practise among
ourselves, but which in its youth represented one of the triumphs of
civilized knowledge. The planets were identified with gods by the
Babylonians, at any rate named after gods.
It is even probable that the ancient priest-astronomer-magicians
were driven to distinguish the full set of observable planets by their
desire to attain the full number seven. It is not an obvious thing by
any means that the all-illuminating sun should be set on a par with
moving stars that at times are no more conspicuous than some fixed
ones. No people unaffected by the Babylonian precedent has ever
hit upon the strange device of reckoning sun and moon as stars.
Then, too, Mercury is perceptible with difficulty, on account of its
proximity to the sun. It is said that great astronomers of a few
centuries ago sometimes never in their lives saw this innermost of
the planets with naked eye, at least in northern latitudes. It seems
possible therefore that its Babylonian discovery may have been
hastened by an eagerness to attain the perfect seven for the number
of the traveling bodies.
124. Greek and Egyptian Contributions: the

Astrological Combination
After the conquest of western Asia by Alexander, the Hellenistic
Greeks took over the undifferentiated Babylonian astrology-
astronomy and developed it into a science. They for the first time
determined the distance or order of the seven luminaries from the
earth, and determined it as correctly as was possible as long as it
was assumed that our earth formed the center of the universe.
Ptolemy—the astronomer, not the king—placed Saturn as the most
outward, next Jupiter, Mars, Sun, Venus, Mercury, Moon.
This scientific advance, the west Asiatic astrologers again took
hold of and brought into connection with the hours of the day. For
this purpose they employed not the old Babylonian division of the
day and night into twelve hours—which had long since passed over
to the Greeks—but the Egyptian reckoning of twenty-four. This was
possible because the Greek discoveries were made in the Egyptian
city of Alexandria.
Each of the twenty-four hours in turn was assigned by the
astrologers to a planet in the Ptolemaic order, beginning with Saturn.
As there were only the seven, the cycle began over again on the
eighth hour, and in the same way the fifteenth and twenty-second
were “dominated” by Saturn. This gave the twenty-third to Jupiter,
the twenty-fourth to Mars, and the twenty-fifth—the first of the next
day, to the Sun. This second day was thought to be specially under
the influence of the planet of its initial hour, the Sun, as the first was
under the influence of its initial hour, that of Saturn. With the
continuance of the count, the Moon would become dominant of the
first hour of the third day, and so on through the repeated series, the
remaining planets emerging in the sequence Mars, Mercury, Jupiter,
Venus; whereupon, the cycle having been exhausted, it would begin
all over again with Saturn’s day—Saturday, as we still call it—and its
successors Sun’s day and Moon’s day.
This was the week as we know it, evolved perhaps somewhat
more than a century before Christ, soon carried back into Alexandria,
and there imparted to Greeks, Romans, and other nationalities. By
the time Jesus was preaching, knowledge of the planetary week had
reached Rome. Less than a century later, its days were being written
in Pompeii. In another hundred years it was spoken of by
contemporaries as internationally familiar.
125. The Names of the Days and the Sabbath

As yet, however, the week was more of a plaything of the
superstitious than a civil or religious institution; and it was pagan, not
Christian. The names of the days were those of the gods which the
Babylonians had assigned to the planets a thousand or more years
earlier, or, in the Western world, “translations” of the Babylonian god
names. The Greeks had long before, in naming the stars which we
know as Mercury, Jupiter, Venus, substituted their Hermes, Zeus,
Aphrodite for the Babylonian Nabu, Marduk, Ishtar, on the basis of
some resemblance of attributes. Thus, Nabu had to do with learning
or cunning like Hermes; Marduk, like Zeus, wielded thunder; Ishtar
and Aphrodite were both goddesses of love. The Romans, in turn,
“translated” the Greek names into those of their divinities Mercury,
Jupiter, Venus, which survive for instance in French Mercre-di, Jeu-
di, Vendre-di.
In the passing on of the week to the Germanic barbarians, still
another “translation” was made, to Woden, Thor, Frija, whence
English Wedn-es-day, Thur-s-day, Fri-day. It is true that these
northern gods were not equivalents of the Roman ones, but that
mattered little. The reckoning of the week was growing in frequency,
and some sort of familiar and pronounceable names for its days had
to be found for the new peoples to whom it spread. So a minimum of
resemblance between two deities answered for an identification.
Moreover, the ancients, because they believed in the reality of their
gods but not in the infinity of their number, were in the habit of
assuming that the deities of foreign nations must be at bottom the
same as their own. Therefore a considerable discrepancy of attribute
or worship troubled them no more than the difference in name.
For the days of the week, then, which the public came more and
more to deal with, these translations were made. Astronomy,
however, was in the hands of the learned, who knew Latin; and
hence scientists still denote the planets as Mercury, Venus, and so
on, instead of Woden and Frija.
Jesus observed the Sabbath, not Sunday, which he was either
ignorant of or would have denounced as polytheistic. The Sabbath
was an old Hebrew institution, a day of abstention and cessation
from labor, evidently connected with and perhaps derived from the
Babylonian Shabattum. These shabattum were the seventh,
fourteenth, twenty-first, twenty-eighth, and also nineteenth days of
the month, the first four probably having reference to the phases of
the moon, and all five being “days of rest of the heart,” inauspicious
for undertakings, and therefore unfavorable for work. They were thus
tabooed, supramundane days, and while their recurrence chiefly at
seven day intervals, like that of the Jewish Sabbath, provided a sort
of frame for a week, this week was never filled in. The influence of
the Babylonian-Hebrew Sabbath on the development of the week
was chiefly this: it provided the early Christians with a ready-made
habit of religiously observing one day in seven. This period
coinciding with the seven day scheme of the week that was coming
into use among pagans, ultimately reinforced the week with the
authority of the church.
126. The Week in Christianity, Islam, and

Eastern Asia
Christianity however felt and long resisted the essential paganism
of the week. The Roman Catholic church in its calendar recognizes
the Lord’s day, the second to sixth days, and the Sabbath, but none
named after a heathen god. In Greece the influence of the Orthodox
church has been strong enough to establish a similar numbering in
civil life; and the Slavic nations, also mostly Orthodox, follow the
same system except that our Monday is their “first” day and they
close the week with Sunday.
Sunday, instead of Sabbath-Saturday, became the religious day of
the week in Christianity because of the early tradition that it was on
this day that Jesus rose from the dead. An unconscious motive of
perhaps greater influence was the desire to differentiate the new
religion from its Sabbath-observing mother religion, both in the minds
of converts from Judaism and in the opinion of the pagans. The
Romans for about a century confused Jews and Christians, no doubt
to the irritation of both.
Meanwhile, the pagans themselves, perhaps under the influence
of the popular sun-worshiping Mithraic religion of the second and
third centuries, had come to look upon the Sun’s day instead of
Saturn’s as the first of the week. At any rate, in 321 A.D. Constantine
ordained “the venerable day of the Sun” as a legal holiday from
governmental, civic, and industrial activity. Constantine perhaps
issued this decree as high priest of the state religion of the Roman
empire, but he was also the first Christian emperor, and his action
must have been wholly acceptable to the church. Before long,
church and state were in accord to discountenance work on Sunday;
and thus Christianity had adopted the heathen planetary week in all
respects but the names of its days. Protestantism finally withdrew
even this barrier and accepted the planet-god names that had so
long been popularly and civilly established.
The Mohammedan week is that of Judaism and Eastern
Christianity, and was taken over bodily from one or the other of these
religions. Sunday is the “first” day, and so in order to Thursday.
Friday is “the meeting,” when one prays at the mosque, but labors
before and after, if one wishes. And Saturday is “the Sabbath,”
though of course without its Jewish prescriptions and restrictions.
The Arabs have spread this form of the week far into Africa.
But the planetary week of Babylonian-Greek-Egyptian-Syrian
origin spread east as well as west and north and south. It never
became so charged with religious meaning nor so definitely
established as a civil and economic institution in Asia as in Europe,
but it was used astronomically, calendrically, and in divination. By the
fifth century, it had been introduced into India. For a time after the
tenth century, it was more used in dating than among European
nations. Again “translations” of the god names of the planets were
made: Brihaspati was Jupiter, and Brihaspati-vara Thursday.
From India, the week spread north into Tibet, east to the Indo-
Chinese countries, and southeast to the Malay Peninsula, Sumatra,
and Java. In the former lands, it was employed calendrically; among
the Malaysians, rather astrologically, and has been largely
superseded by the Mohammedan form. Even China acquired some
slight acquaintance with the week as a period of seven days allotted
to the planetary bodies and initiated by the day of Mit, that is, Mithra,
the Persian sun god, although the average Chinaman knows nothing
of the days of the week nor any periodic rest from labor.
127. Summary of the Diffusion

This history of the week is one of the striking instances of
institutional diffusion. An ancient west Asiatic mystic valuation or
magical cult of the number seven led on the one hand to an
observance of taboo days, on the other to an association with the
earliest astronomical knowledge, polytheistic worship, and divination.
A European people learned the combination and built on it for further
scientific progress, only to have this gain utilized for new playing by
the astrologers. The planetary week, the creation of these
mathematical diviners, was reintroduced into Europe and became
connected with the calendar and civil life. Christianity recontributed
the old idea of regularly recurring holy or taboo days.
Mohammedanism took over this concept along with the period, but
without the polytheistic and astrological elements. Eastern Asia, on
the other hand, was chiefly interested in the latter. With us, the
significance is becoming increasingly economic. Names have
changed again and again, but their very variations evidence their
equivalence. In about three thousand years from its first beginnings
and half as many from its definitive establishment, the institution of
the week by 1492 had spread over all the earth except the peripheral
tracts of Asia and Africa and the peripheral continents of Oceania
and America.
128. Month-thirds and Market Weeks

Contrasting with this single diffusion of the seven-day week is the
independent development in several parts of the world of other
periods, marked either by sacred or secularly unlucky days or by
markets or by divisions of the lunar month.
For instance, a ten-day week, having reference to the beginning,
middle, and end of the lunation, was more or less reckoned with in
ancient Egypt; ancient Greece; parts of modern central Africa; China,
Japan, and Indo-China; and Polynesia. No historic connections are
known between the custom in these regions; its official and religious
associations are everywhere slender, and intervening nations either
employ other periods or none at all. It looks, therefore, as if these
might be cases of true parallelism, although in that event an
American occurrence might also be expected and its absence seems
in need of explanation. Moreover there is nothing very important
about this reckoning; it is essentially a description of a natural event,
and the only thing distinctive is its being threefold. If an institution as
precise and artificial as our planetary week had been independently
originated more than once, the fact would be more significant.
Regular market days among agricultural peoples have frequently
led to a reckoning of time superficially resembling the week. Thus, in
central Africa, south of the sphere of Islamic influences, markets are
observed by a considerable number of tribes. Most frequently these
come at four day intervals. Some tribes shorten the period to three
days or lengthen it to five. Six, eight, and ten day periods appear to
be merely doublings. The fairly compact distribution of this African
market week points to a single origin.
The early Romans observed a regular eighth day market and
semi-holiday. This might be connected with the African institution,
but as yet cannot be historically linked with it.
In the less advanced states of Indo-China and many of the East
Indian islands, even as far as New Guinea, five-day markets are the
rule. This entire tract has many internal culture connections, so that
within its limits diffusion has evidently again been active.
In ancient America, markets were customary every fifth day in
Mexico, third day in Colombia, tenth day in Peru. These were also
days of assembly and cessation from labor.
The American instances establish beyond cavil that some of these
market weeks are truly independent evolutions. Moreover, they
nearly all occur among peoples of about the same degree of
advancement, at any rate on the economic side of their cultures. But
it is only the idea, the outline of the institution, that is similar; its
concrete cultural execution, as expressed in the length of the period,
differs in Asia and Africa, and in the three American regions. That
the Mexican and Southeast Asiatic weeks were both of five days,
means nothing but the sort of coincidence to be expected when the
choice of duration is limited to a small range, such as between three
and ten days.
129. Leap Days as Parallels

Finally, there is a correspondence between the Egyptians and
Mexicans in recognizing the solar year as composed of 360 + 5
days. The Egyptians counted the 360 in twelve months of thirty days,
the Mayas and Aztecs in eighteen groups of twenty days; both
agreed in regarding the five leap days as supplementary and
unlucky. This last fact looks like a close correspondence, but
analysis dissolves much of the likeness. The solar year consists of
365 days and a fraction. There is nothing cultural about that
phenomenon except its recognition. Careful observation continued
for a long enough period inevitably yields the result. But 365 is
indivisible except by 5 and 73; 360 is much “rounder,” that is,
divisible by many numbers, and these “simple” like 6, 10, 12, 18, 20,
30, and therefore easier to operate with. This again is a
mathematical, not a cultural fact. The five supplementary days thus
scarcely represent any distinctive achievement. As to their being
considered unlucky and evil, that is unquestionably a true cultural
parallel.
At the same time, this parallel cannot be enacted into any
generally valid law. The ancient Hindu calendar, being directly lunar,
had about twelve days left over each solar year end at the winter
solstice. These twelve days were looked upon as prophetic and
portentous, but not as specifically evil. The Persian and Armenian
calendars, seemingly derived from the Egyptian, had the same five
supplementary days. But in the former the first of its five is reckoned
as lucky, only the third as unlucky; and in the latter, none of the five
has any special value or observance. Our own twenty-ninth of
February is supplementary and we hold a half serious belief or
superstition in regard to it and its year, but this has nothing to do with
luck.
In short, the human mind does tend to attach an unusual value to
any day in the calendar that is in any way outstanding. This
observation is a psychological one, and could be predicted from
what is known of the principle of association in individual psychology.
When it comes to the social expression of this tendency, regularity
ceases. Sometimes the value of the special day is virtually identical
among unconnected social groups, such as the Mayas and
Egyptians; sometimes it is diverse, as between them and ourselves;
and sometimes the value wholly disappears, as in Armenia.
Parallelism in any matter of civilization is never complete and
perfect, just as culture elements rarely spread far or long without
modification.
CHAPTER XI
THE SPREAD OF THE ALPHABET
130. Kinds of writing: pictographic and mixed phonetic.—131. Deficiencies

of transitional systems.—132. Abbreviation and conventionalization.—
133. Presumptive origins of transitional systems.—134. Phonetic
writing: the primitive Semitic alphabet.—135. The Greek alphabet:
invention of the vowels.—136. Slowness of the invention.—137. The
Roman alphabet.—138. Letters as numeral signs.—139. Reform in
institutions.—140. The sixth and seventh letters.—141. The tail of the
alphabet.—142. Capitals and minuscules.—143. Conservatism and
rationalization.—144. Gothic.—145. Hebrew and Arabic.—146. The
spread eastward: the writing of India.—147. Syllabic tendencies.—
148. The East Indies: Philippine alphabets.—149. Northern Asia: the
conflict of systems in Korea.
130. Kinds of Writing: Pictographic and Mixed

Phonetic
Three stages are logically distinguishable in the development of
writing. The first is the use of pictures of things and symbols of ideas:
the pictographic method. In the second stage the representation of
sounds begins, but is made through pictures or abbreviations of
pictures: and pictures or ideographs as such continue to be used
alongside the pictures whose value is phonetic. This may be called
the mixed or transitional or rebus stage. Third is the phonetic phase.
In this, the symbols used, whatever their origin may have been, no
longer denote objects or ideas but are merely signs for sounds—
words, syllables, or the elemental letter-sounds.
The first of these stages, the pictographic, and the degree to which
it flows, or rather fails to flow spontaneously out of the human mind,
have already been discussed (§ 105). The second or transitional
stage makes use of the principle that pictures may either be
interpreted directly as pictures or can be named. A picture or
suggestive sketch of the organ of sight may stand for the thing itself,
the eye. Or, the emphasis may be on the word eye, its sound; then
the picture can be made with the purpose of representing that sound
when it has a different meaning, as in the pronoun “I.” The method is
familiar to us in the form of the game which we call “rebus,” that is, a
method of writing “with things” or pictures of objects. The insect bee
stands for the abstract verb “be,” two strokes or the figure 2 for the
preposition “to,” a picture of a house with the sign of a tavern, that is
an inn, for the prefix “in-,” and so on. This charade-like method is
cumbersome and indirect enough to provide the difficulty of
interpretation that makes it fit for a game or puzzle. But what to us,
who have a system of writing, is a mere sport or occasional toy, is
also the method by which peoples without writing other than pure
pictography made their first steps toward the writing of words and
sounds. The principle of reading the name instead of the idea of the
thing pictured is therefore a most important invention. It made
possible the writing of pronouns, prepositions, prefixes and suffixes,
grammatical endings, articles, and the like, which are incapable of
representation by pictography alone. There is no difficulty drawing a
recognizable picture of a man, and two or three such pictures might
give the idea of men. But no picture system can express the
difference between “a man” and “the man.” Nor can relational or
abstract ideas like those of “here,” “that,” “by,” “of,” “you,” “why,” be
expressed by pictures.
131. Deficiencies of Transitional Systems

Important as the invention of the designation of words or sounds
therefore was, it was at first hesitant, cumbersome, and incomplete
as compared with modern alphabets. For one thing, many symbols
were required. They had to be pictured with some accuracy to be
recognizable. A picture of a bee must be made with some detail and
care to be distinguishable with certainty from that of a fly or wasp or
beetle. An inn must be drawn with its sign or shield or some clear
identifying mark, else it is likely to be read as house or barn or hut or
shop. The figure of the human eye is a more elaborate character
than the letter I. Then, too, the old pictures did not go out of use.
When the writing referred to bees and inns and eyes, pictures of
these things were written and read as pictures. The result was that a
picture of an eye would in one passage stand for the organ and in
another for the personal pronoun. Which its meaning was, had to be
guessed from the context. If the interpretation as pronoun fitted best
—for instance, if the next characters meant “tell you”—that
interpretation was chosen; but if the next word were recognized to be
“brow,” or “wink,” the character would be interpreted as denoting the
sense organ. That is, the same characters were sometimes read by
their sense and sometimes by their sound, once pictographically and
once phonetically. Hence the system was really transitional or mixed,
whereas a true alphabet, which represents sounds only, is unmixed
or pure in principle. Owing to the paucity of sound signs at first, the
object or idea signs had to be retained; after they were once well
established, they continued to be kept alongside the sound signs
even after these had grown numerous. The tenacity of most mixed
systems is remarkable. The Egyptians early added word signs and
then syllable and pure letter signs to their object signs. After they
had evolved a set of letter signs for the principal sounds of their
language, they might perfectly well have discarded all the rest of
their hundreds of characters. But for three thousand years they clung
to these, and wrote pictographic and phonetic characters jumbled
together. They would even duplicate to make sure: as if we should
write e-y-e and then follow with a picture of an eye, for fear, as it
were, that the spelling out was not sufficiently clear. From our
modern point of view it seems at first quite extraordinary that they
should have continued to follow this plan a thousand years after
nations with whom they were in contact, Phœnicians, Hebrews,
Greeks, Romans, were using simple, brief, accurate, pure alphabets.
Yet of course they were only following the grooves of crystallized
habit, as when we write “weight” or “piece” with unnecessary letters,
or employ a combination of two simple letters each having its own
value, like T and H, to represent a third simple sound, that of TH.
With us, as it was with the Egyptians, it would be more of a wrench
and effort for the adult generation to change to new and simpler
characters or methods than to continue in the old cumbersome
habits. So the advantage of the next generation is stifled and the
established awkward system goes on indefinitely.
132. Abbreviation and Conventionalization

This mixture of pictographic and ideographic with phonetic
characters, and its long retention, were substantially as characteristic
of Sumerian or Babylonian Cuneiform, of Chinese, and of Maya and
Aztec writing, as of Egyptian. In all of these systems there was more
or less tendency to abbreviate the pictures, to contract them to a few
strokes, to reduce the original representations to conventional
characters. Cuneiform and presumably Chinese underwent this
process early and profoundly. In Egyptian it also set in and led to
Hieratic and later to Demotic cursive script, which consist of signs
that are meaningless to the eye, although they resolve into
standardized reductions of the pictures which during the same period
continued to be made in the monumental and religious Hieroglyphic.
Such conventional abbreviations made possible a certain speed of
production, rendered writing of use in business and daily life, and
thereby contributed to the spread of literacy. In themselves, however,
they introduced no new principle.
In addition to this conventionality of form of characters, there is to
be distinguished also a conventionalization of meaning which is
inherent in the nature of writing. Conventionalization of form
accompanies frequency or rapidity of writing, conventionalization of
meaning must occur if there is to be any writing at all. It develops in
pure non-phonetic pictography if this is to be able to express any
considerable range of meaning. An outstretched hand may well be
used with the sense of “give.” But the beholder of the picture-writing
is likely to interpret it as “take.” Here is where conventionalization is
necessary: it must be understood by writers and readers alike that
such a hand means “give” and not “take,” or perhaps the reverse, or
perhaps that if the palm is up and the fingers flat the meaning is
“give” whereas the palm below or the fingers half closed means
“take.” Whatever the choice, it must be adhered to; the standardized,
conventional element has entered. That is why one customarily
speaks of “systems” of writing. Without the system, there can be not
even picture-writing, but only pictures, whose range of power of
communication is far more limited.
When the phonetic phase begins to be entered,
conventionalization of meaning is even more important. An inn must
be distinguished from a house by its shield, a house from a barn by
its chimney, and so on. The shield will perhaps have to be
exaggerated to be visible at all, be heart-shaped or circular to
distinguish it from windows; and so forth. So with the phonetic
values. A syllable like English “per” might be represented by one
scribe by means of a cat with a wavy line issuing from its mouth to
denote its purr; by another by a pear; by a third, by something that
habitually came as a pair, such as earrings. Any of these combined
with a “sieve” symbol would approximately render the work “per-
ceive.” But some one else might hit upon the combination of a purse
and the setting sun at eve. Obviously there has got to be a
concordance of method if any one but the writer is to read his
inscription readily. This correspondence of representation and
interpretation is precisely what constitutes a set of figures into a
system of writing instead of a puzzle.
133. Presumptive Origins of Mixed Systems

For such a set concordance to grow up among all the diverse
classes of one large nation would be very difficult. In fact, it seems
that transitional systems of writing have originated among small
groups with common business or purpose, whose members were in
touch with one another, and perhaps sufficiently provided with leisure
to experiment: colleges of priests, government archivists, possibly
merchants with accounts. It is also clear that any system must reflect
the culture of the people among whom it originates. The ancient
Egyptians had no inns nor purses, but did have horned serpents and
owls. Still more determining is the influence of the language itself, as
soon as writing attempts to be phonetic. The words expressing pair
and sieve are obviously something else in Egyptian than in English,
so that if these signs were used, their sound value would be quite
otherwise. Yet once a system has crystallized, there is nothing to
prevent a new nationality from taking it over bodily. The picture
values of the signs can be wholly disregarded and their sounds read
for words of a different meaning; or the sounds could be
disregarded, or the original proper forms of the characters be pretty
well obliterated, but their idea value carried over into the other
tongue. Thus the Semitic Babylonians took the Cuneiform writing
from the Sumerians, whose speech was distinct.
It is also well to distinguish between such cases of the whole or
most of a system being taken over bodily, and other instances in
which one people may have derived the generic idea of the method
of writing from another and then worked out a system of its own.
Thus it is hard not to believe in some sort of connection of stimulus
between Egyptian and Cuneiform writing because they originated in
the same part of the world almost simultaneously. Yet both the forms
of the characters and their meaning and sound values differ so
thoroughly in Egyptian and Cuneiform that no specific connection
between them has been demonstrated, and it seems unlikely that
one is a modified derivative form of the other. So with the
hieroglyphs of the Hittites and Cretans. They appeared in near-by
regions somewhat later. Consequently, although their forms are
distinctive and, so far as can be judged without our being able to
read these systems, their values also, it would be dogmatic to assert
that the development of these two writings took place without any
stimulation from Egyptian or Cuneiform. Something of a similar
argument would perhaps apply even to Chinese (§ 251), though on
this point extreme caution is necessary. Accordingly if one thinks of
the invention of the first idea of part-phonetic writing, it is conceivable
that all the ancient systems of the Old World derive from a single
such invention; although even in that event the Maya-Aztec system
would remain as a wholly separate growth. If on the other hand one
has in mind the content and specific manner of systems of the
transitional type, Egyptian, Cuneiform, and Chinese, perhaps also
Cretan and Hittite, are certainly distinct and constitute so many
instances of parallelism. Even greater is the number of independent
starts if one considers pure pictographic systems, since tolerable
beginnings of this type were made by the Indians of the United
States, who never even attempted sound representations.
134. Phonetic Writing: the Primitive Semitic

Alphabet
The last basic invention was that of purely phonetic writing—the
expressing only of sounds, without admixture of pictures or symbols.
Perhaps the most significant fact about this method as distinguished
from earlier forms of writing is that it was invented only once in
history. All the alphabetic systems which now prevail in nearly every
part of the earth—Roman, Greek, Hebrew, Arabic, Indian, as well as
many that have become extinct—can be traced back to a single
source. The story in this case is therefore one of diffusion and
modification instead of parallelism.
What circumstance it was that caused this all-important invention
to be made, is not known, unfortunately, though time may yet bring
knowledge. There is even division of opinion as to the particular
system of mixed writing that was drawn upon by the first devisers of
the alphabet, or that served as jumping off place for the invention.
Some have looked to the Egyptian system, others to a Cuneiform or
Cretan or Hittite source of inspiration. Nor is it wholly clear who were
the precise people responsible for the invention. It is only certain that
about 1,000 B.C., or a little earlier, some Semitic people of western
Asia, in the region of the Hebrews and Phœnicians, probably the
latter themselves, began to use a set of twenty-two non-pictorial
characters that stood for nothing but sounds. Moreover, they
represented the sounds of Semitic with sufficient accuracy for
anything in the language to be written and read without trouble.
These twenty-two letters look simple and insignificant alongside the
numerous, beautiful, and interesting Egyptian hieroglyphs. But on
them is based every form of alphabet ever used by humanity.
The earliest extant example of the primitive Semitic alphabet[22] is
on the famous Moabite Stone of King Mesha, who in the ninth
century before Christ erected and inscribed this monument to

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6. The motion path is indicated by a(n) _____.

20. Referring to the accompanying illustration, the text http://duplantissystems.example.com/ is an

24. An action button is a shape intended to be a(n) _____.

26. To customize theme colors, click the _____ tab.

36. If you add narration to a slide, you should NOT _____.

40. To remove narration on a slide, delete the sound _____.

Case-Based Critical Thinking Questions

Case-Based Critical Thinking Questions

PTS: 1 REF: PPT 190

PTS: 1 REF: PPT 191

PTS: 1 REF: PPT 196

PTS: 1 REF: PPT 202

PTS: 1 REF: PPT 203

6. A(n) ____________________ button is a shape intended to be a link.

PTS: 1 REF: PPT 207

ANS: Insert Hyperlink

PTS: 1 REF: PPT 211

8. Each theme has its own color ____________________.

PTS: 1 REF: PPT 211

PTS: 1 REF: PPT 216

PTS: 1 REF: PPT 217

11. In a self-running presentation, automatic ____________________ tells PowerPoint to display slides

PTS: 1 REF: PPT 218

12. In a self-running presentation, ____________________ gives the viewer more information or

PTS: 1 REF: PPT 218

PTS: 1 REF: PPT 218

PTS: 1 REF: PPT 218

ANS: SLIDE SHOW

PTS: 1 REF: PPT 220

a. Document Inspector f. DESIGN

1. ANS: D PTS: 1 REF: PPT 221

You can convert any text or object on slide to be a link.

PTS: 1 REF: PPT 204 TOP: Critical Thinking

PTS: 1 REF: PPT 211 TOP: Critical Thinking

PTS: 1 REF: PPT 220 TOP: Critical Thinking

120. Mediæval Cathedrals

121. The Arabs: India: Modern Architecture

123. Babylonian Discovery of the Planets

124. Greek and Egyptian Contributions: the